Tag: perceptive

Perceptive theme park rides?

Tony tweeted me about this thrill machine which uses body data to influence how the ride operates. The link comes from Mashable and I was able to trace it back to the original

“…while building this attraction I also wanted to change the usual one-sided relation – a situation where the body is overwhelmed by physical impressions but the machine itself remains indifferent, inattentive for what the body goes through. Neurotransmitter 3000 should therefore be more intimate, more reciprocal. That’s why I’ve developed a system to control the machine with biometric data. Using sensors, attached to the body of the passenger – measuring his heart rate, muscle tension, body temperature and orientation and gravity – the data is translated into variations in motion. And so, man and machine intensify their bond. They re-meet in a shared interspace, where human responsiveness becomes the input for a bionic conversation.”

https://danieldebruin.com/neurotransmitter-3000

Its a good idea but unfortunately couldn’t work on a rollercoasters, which is my thing. Or could it? For example everyones hand up in the air means what? The ride goes faster? How on earth does work? How meaningful would this be if you could actually do this?

Its one of the research questions we attempted to explore in the living room of the future. How can you combine different peoples personal data to construct a experience which is meaningful and not simply a medium of it all.

These global changes don’t seem meaningful or so useful? Maybe its about the micro changes like mentioned previous.

Of course others have been working around this type of things too.

Join us in exploring object-based media making tools


Like visual perceptive media? Like the concept of perceptive radio, like the javascript libraries we have put out in a open and public way? We want you to come on board and join us…!

We (BBC R&D) have been exploring the new reality of creating object based media through a range of prototypes. I have been exploring the implicit uses of data and sensors to change the objects; or as we started calling it a while ago Perceptive Media.

The big issue is to realisticily create and author these new types of stories, requires a lot of technical knowledge and doesn’t easily seat in the standard content creation workflow, or does it? We want to bring together people in a workshop format to explore the potential of creating accessible tools for authors and producers. Ultimately seeding a community of practice, through open experimentation learning from each other.

The core of the workshop will focus on the question…

“Is it desirable and feasible for the community of technical developers and media explorers to build an open set of tools for use by storytellers and producers?”

During the backdrop of the International Sheffield Documentary Festival the workshop on Monday 13th June will bring together, and are putting out a call for interested parties to work together with the aim of understanding how to develop tools which can benefit storytellers, designers, producers and developers.

We are calling for people, universities, startups, hackers and companies with a serious interest in opening up this area; to reach out and join us. Apply for a ticket and we will be in touch.

Programmatic media sounds a bit like Perceptive Media?

Kill Bill Advertising

I swear Tony sent me a tweet with a pointer to this piece titled Programmatic Beyond Advertising: A Not-So-Distant Future in CMF trends.

Its mainly about advertising including a bit about the just in time advertising space which is coming about because of the lightening speed of data and the ability to replace advertising/content on the fly.

Heard it all before but then there was this part…

…what if programmatic could be used for content other than advertising?

If we extend this thinking (and our imagination) a little further to consider the possible emergence of a new distribution method for cultural or editorial content based on programmatic logic and methods, we could ask whether these new “programmatic” models could be applied to the automated distribution of film and television content based on audiences and their data.

Based on this logic, “programmatic content distribution” could be imagined as a flow in which the data collected from users would trigger an automated rights transaction and content delivery process between right-holders and broadcasters. The final result would be the broadcasting of content corresponding to the preferences of the targeted user.

Yes indeed, this is the start of Perceptive Media, if you haven’t already guessed. Its always good to hear others make the same leaps in thinking of course…

Perceptive media in wired magazine

Programmatic media?  Don’t think that will fly as a term, I’m sorry to say. Although I have to say, this description would be more like responsive media than perceptive media.

It was in make do share warsaw that I first heard Lance Weiler talk about them in quite different contexts and it did make sense. Phil has been grouping them together as contextual media which works as a superset of both, although I worry about the previous examples of contextual media clouding things.

The next part of the article I’m less interested in but something I have thought about a tiny bit…

Moreover, it would be possible to monetize this video content by attaching superimposed or pre-roll ads to it, as commonly seen on video aggregation platforms.

This valuable collection of user data and preferences for viewing a movie or television show could be done on a voluntary basis; for example, users would simply answer a few questions on their mood, the type of movie or series, and the desired language and duration so that the platform can preselect and “program” content that meets their criteria.

But we know that the Web, which is very advanced in big data collection, is already capable of gathering this data using algorithms. Users’ actions on a given site—the keywords they search for, the links they click on, their daily search history—can indicate to the platforms what type of content they are likely to be interested in.

The problem they will get is the explicit nature of the input, I feel. Yes its easier on the web but the person is leaning forward interacting most of the time anyway. When you get into the living room it gets a little more tricky, and a implicit approach is better in my mind. Yes it can get creepy but it doesn’t break the immersion and in my mind thats very key.

The essence of the programmatic distribution mechanism would therefore be as a recommendation super-engine, more sophisticated than that currently found on various platforms.

Why is it everybody thinks fancy recommendation engines? If this is the ambition of the industry, I feel we should be breaking into another dimension. Hopefully some of the things I’m responsible for will match that ambition/moon shot.

Is the future of user interface design actually, perceptive?

Jason Silva in his latest shot of awe, talks about the paradox of choice we all face with the advances in technology and increase choice. He also mentioned the fast company piece about the trend towards less choice, especially in user interface design.

Companies are catching on quickly. With the realization that data is much more valuable when used with other information, protocol is increasingly being adopted to ensure that data sharing is seamless. With the explosion of both data collection and unification, we’re creating an environment that, while not fully exposed, is at least open enough for information to be meaningfully aggregated.

Taken together in four steps—collection, unification, analysis, and implementation—we have an environment where information is working for you behind the scenes to do things automatically, all in the service of letting you focus on what’s most important to you in work and life.

I have concerns about this along with my thoughts about who/whom is writing the software and what is their opinion?

What Jason and others are talking about is contextual design or as I prefer perceptive design (along with perceptive media). As context only explains half of the solution and frankly anticipatory design sounds like when I first talked about intrusive media.  It will never find the mindshare with a name like that!

I think of Apple products as anticipatory and antihacker. I remember the blog I wrote when I saw Aral talk about user experience at Thinking Digital in 2013.

Perceptive design needs to empower people with  chances and experiences for mastery, not enslave them and ultimately make them feel trapped, lost and cut off from others.

Variations not versions

https://twitter.com/martynkelly/status/624266599000838150

It was Si Lumb who tweeted me about Pixar’s Inside Out contextual visuals.

Now I know this isn’t anything new, I mean films have had region differences for a long while but its good to see it discussed openly and I was interesting to read about how (we think) they do it.

It’s interesting to note that the bottom five entries of the list, starting with “Thai Food,” remain consistent throughout (maybe Disney/Marvel Studios’ digital wizards couldn’t replace the stuff that Chris Evans’ hand passed over), but the top items change a lot.

Which leads me to think its all done in post production using things like impossible software?

Post producing this stuff is a mistake in my mind, but then again I’m working on the future of this kind of thing with Perceptive Media. I also imagine the writer and director had no time to think about variations for different countries, or wasn’t paid enough?

Rather than write up my thoughts of how to do this with digital cinema (isn’t this part of the promise of digital cinema?) plus I’m writing a paper with Anna frew about this. I thought it was about time I wrote something about the project I’m currently working on.

Visual Perceptive Media

Visual perceptive media is a short film which changes based on the person who is watching the video. It uses profiled data from a phone application to build a profile of the user via their music collection and some basic questions. The data then is used to inform what variations it should apply to the media when watched.

The variations are applied in real time and include different music, different colour grading, different video assets effects and much more. Were using the WebAudioAPI, WebGL and other open web technologies.

What makes this different or unique…?

  • We had buy in with the script writer and director (Julius Amedume was both and amazing) right from the very start which makes a massive difference. The scripts were written with all this in mind.
  • It was shot and edited with its intended purpose of making real-time variations.
  • Most things we (BBC R&D) have done in the responsive/perceptive area has been audio based and this I would say is a bit of moonshot moment like Breaking Out 3 years ago! Just what I feel the BBC should be doing.
  • Keeping with the core principle of Perceptive media, the app which Manchester based startup Percepiv (was moment.us, wondered if working with us had a hand in the name change?) created using there own very related technology. Is mainly using implicit data to build the profile. You can check out music+personality on your own android and iphone now.

Its going to be very cool and I believe we the  technology has gotten to the point where it makes sense that we can do this so seamlessly that people won’t even know or realise (this is something we will be testing in our lab). As Brian McHarg says, theres going to be some interesting water cooler conversations, but the slight variations are going to be even more subtle and interesting.

This is no branching narrative

I have been using the word variations throughout this post because I really want us to get away from the notion of edits or versions. I recently had the joy of going Learn Do, Share Warsaw. I was thinking about how to explain what our thinking was with the Visual Perceptive Media project. How do you explain which has 2 films genres with 6 established endings with 20+ types music genres and a endless number of lengths and effects?

This certainly isn’t a branching narrative and the idea of branching narrative is certainly not apt here. If this was a branching narrative, it would have upwards of 240 versions not including any of the more subtle effects to increase your viewing enjoyment. I considered them as variations and the language works, when you consider the photoshop variation tool. This was very handy when talking to others not so familiar with perceptive media.  But its only a step and makes you consider there might be editions…

I was talking to my manager Phil about it before heading to Warsaw and came up with something closer to the tesseract/hypercube in interstellar (if you not seen it/spoiler alert!)

Unlimited Variations

Unlimited isn’t quite right but the notion of time and variations which intersect is much closer to the idea. I say to Si Lumb maybe the way to show this would be in VR, as I certainly can’t visualise it easily.

When its up and running I’d love people to have a go and get some serious feedback.

On a loosely related subject, Tony Churnside also tweeted me about Perceptive Media breaking into the advertising industry.

Perceptive advertising is coming…?

not too much h20

Google wants to bring TV ads into the 21st century. The company has quietly announced a new local advertising service for Google Fiber that will make TV ads behave a lot more like internet ads. Using data from its set-top-boxes, Google (and advertisers) will know precisely how many times a particular local ad has been watched in homes with Google Fiber service. That might not sound like a big deal, but the industry-standard Nielsen ratings simply don’t offer that kind of information. Like on the web, Google will only charge for the number of views an ad receives.

We all knew it was coming but I always wondered why Google and the other data driven companies hadn’t really done anything about the massive opportunity of personalised marketing?

It’s not yet clear precisely how the system will work, but, similar to Google’s cornerstone AdWords business, algorithms might determine the best time to show you a certain ad. For instance, if you’re watching the news before flipping over to the football game, the system might determine that you should be served a different ad during halftime than your buddy who switched over to the game from Pawn Stars. Google says it will even be able to swap out ads on DVR’d programs, so you won’t be served an old or irrelevant advertisement if you watch a program a week after it originally aired. Fiber customers will have an option to disable ads based on viewing history

But that is just the start. There is still the notion that the adverts are solid pieces for media which must be played from start to the end. This is a mistake, which will break down over time. Context is king yes, but there is big question about how personal you should get?

Something Doc Searls talks a lot about… and cue the Uncanny Valley graph…

Uncanny_valley

I am worried that in the rush to deliver context sensitive advertising and marketing, there will be too much which falls into the uncanny valley space. So much it will ruin the great uses of data and context like Perceptive Media. I always said it was little friendly touches not a sledgehammer to the face or other senses…

Perceptive Radio on BBC Radio 4

Official Perceptive Radio photo

It finally happened… Perceptive Media  and more specifically Perceptive Radio got a mention on BBC Radio 4’s You and Yours today. Now to be fair this isn’t the first time its been mentioned on the BBC but to have futurebroadcasts.com mentioned live on air, should increase the sample size for feedback which is critical for our research into Perceptive Media.

In usual style I made an archived version on archive.org. Although to be fair the You and Yours stays on iPlayer for about a year at a time.

Perceptive music and beyond

Pet Shop Boys at the Brits 2009

Media relies on the ability to engineer peoples emotions. This can sound pretty bad but all media from romantic comedies made for cinema to the old classics from Shakespeare. The effect of media and ultimately storytelling has always fascinated me and I’m sure its the same for most people. Its hardwired in to us as Jason Silva puts it.

The ability to engineer someone’s emotions is interesting from a story point of view. However if you add broadcast, you can do this to a nation or the whole world. But like the 10% of any audience, which are highly suggestible, how do you reach the others?

A 600,000 person study Facebook and Cornell University did a while back but recently came to light might have a clue about how. However there has been a major push-back on the study for ethical reasons.

Facebook’s controversial study that manipulated users’ newsfeeds was not pre-approved by Cornell University’s ethics board, and Facebook may not have had “implied” user permission to conduct the study as researchers previously claimed.

Starting from a different place is Moment.us.(little disclaimer to say I may be working with this Manchester based startup in the near future, but only because their technology is mind blowing)

Moment.us, tracks and follows the users media habits. It watches as you choose songs (bit like scobbling apps like last.fm) when you pick them and records the context of when. Like certain types of song when your going for a ride to work on a sunny day.

Our proprietary algorithm, contextual database, analytics, understanding of and expertise in media, technology and user behaviour. Highly relevant, hyper-personal, socially integrated, context driven mobile experiences for consumers and unrivalled contextual consumer data for commercial organisations.

A while ago we pitched a project loosely called In Tune at the BBC Radio One Connected Studio which we felt was very credible but unfortunately the judges disagreed. Maybe it was the way we pitched it but there was a lot of doubt we had the data to do what we planning to do.

I have seen first hand the data points and been amazed at what patterns of activity our music listening can reveal about ourselves. Imagine what you could do if you were have access to that data and could engineer the music and therefore the experience?

Interestingly Google is getting in on the idea as they recently bought Songza.

Storytelling through different types of frames

As part of my investigations into Perceptive Media, myself and other colleagues are deconstructing storytelling down to its most logical parts. Part of this is understanding the history of storytelling and other aspects of storytelling which are outside the mainstream consciousness.

It was the other day I spent extra long in the shower listening to NPR’s TED radio hour, as it was all about stories.

In this hour, TED speakers explore the art of storytelling — and how good stories have the power to transform our perceptions of the world.

The one which struck a chord with me was Chimamanda Adichie’s TED talk on the dangers of the single story. Chimamanda gives a great example to start.

So I grew up in a small university town in Nigeria, and started reading quite early. And I read a lot of British children’s books, which was not unusual. This was the norm for children like me. And so when I started to write, I was writing exactly those stories. All my characters were white and blue-eyed. They played in the snow, they ate apples, and they talked a lot about the weather – how lovely it was that the sun had come out. Now this, despite the fact that I lived in Nigeria, I had never been outside Nigeria. We didn’t have snow, we ate mangoes, and we never talked about the weather because there was no need to. My characters also drank a lot of ginger beer, never mind that I had no idea what ginger beer was. And for many years afterwards, I would have a desperate desire to taste ginger beer.

In Chimamanda’s own words…

What this demonstrates, I think, is how impressionable and vulnerable we are in the face of a story, particularly as children. Because all I had read were books in which characters were foreign, I had become convinced that books, by their very nature, had to have foreigners in them and had to be about things with which I could not personally identify.

The power of the story is that powerful. And I conclude listening to her talk and the other TED talks on the show. Mass publishing/broadcasting is partly to blame for this.

Of course in my usual way, I wonder could Perceptive Media could/would make this situation better? I believe so, but how?

In this case, personalisation could be a good thing. Yes the fears of echo chambers and filter bubbles, have to be wary of but on the other hand a well written story is adaptable to almost any culture. Its the inflexibility of the medium which is causing African women to grow up thinking white blue eyed ginger beer drinking kids are part and parcel of the medium. Yes you can point the finger at globalization but its deeper than that. Its inherent to the medium of publishing and broadcasting… in my honest opinion.

If Perceptive Media can remove or even dislodge the dangers of the single story, I would be very happy. As Chimamanda finishes her talk saying…

Stories matter. Many stories matter. Stories have been used to dispossess and to malign, but stories can also be used to empower and to humanize. Stories can break the dignity of a people, but stories can also repair that broken dignity.

BBC Radio 4 Character Invasion day with Perceptive Futures

BBC Radio 4 are putting on a number of events on Saturday 29th March under the banner of Character Invasion day

Character Invasion is a celebration of character taking place over the course of one day – Saturday 29 March 2014. The day will have character at its heart combining an on-air exploration of the importance of character on BBC Radio 4, with a day of public events at all BBC sites which produce Radio Drama.

BBC R&D are involved and focusing on the idea of characters in the future. What are the possibilities for characters in a future which looks more perceptive? Of course we’re not alone, there will be some other key people from across the industry debating the question too.

At this session, you’ll hear from a panel of fantastic guests including Adrian Hon (CEO, Six to Start and Technology writer for the Telegraph), Julius Amedume (film director, writer and producer), Sarah Glenister (author of Perceptive Media’s Breaking Out), Henry Swindell (Development Producer for BBC Writersroom) and Anna Frew (PhD student studying the book and narrative in the new era of the internet).

With a line up like that, you know your going to get some great debate, plus there might be a chance to see/hear the Perceptive Radio in action.

The sign up process is a little weird, so you need to register by Thursday 13th March and then you will be notified later if you got a ticket or not. The event takes place in Media City, Salford Quays.

Hope to see you there… its going to be a blast